Following the Baron Frankenstein's death at the hands of his murderous creation, Tania, his daughter, and his assistant, Dr Charles Marshall, continue the experiments, with just as much murderous intent as the roaming mindless creature.
There's something intriguing about Lady Frankenstein. Directed by Mel Welles, with Aureliano Luppi also credited as co-director, this 1971 slice of Euro-horror has Hammer vibes running through its veins, from its gothic settings and elaborate interiors to its deliciously macabre obsession with death, resurrection and the human body. Also, on all accounts, extra credit should be given to cameraman Riccardo Pallottini, who added those nice lightings; for instance, he used to place the camera, then he waited for the director; he also solved technical problems and so forth.
Joseph Cotten is terrific as Baron Frankenstein, and his limited presence is a poignant reminder of just what a sorely missed actor he is. Rosalba Neri, meanwhile, absolutely steals the show as his daughter, Tania Frankenstein. Those smoky eyes, perfect eyebrows and immaculate eyelashes barely conceal a deliciously cold and manipulative streak. Neri gives the film its real spark, turning Tania into an alluringly sinister successor to her father's work.
Renate Kasché (Renata Cash) as Julia Stack, Thomas's sister, is sadly slightly wasted. Herbert Fux as Tom Lynch, the graverobber, is memorable. Mickey Hargitay as the investigator Captain Harris does his best with what he is given. Paul Muller is notable as Dr Charles Marshall, along with Marino Masé in a dual role (as Peter Whiteman) as Thomas Stack.
Tania and Charles's increasingly grisly solution leads to the film's most intriguing idea, a brain-transplant/body-swapping subplot that ultimately takes centre stage over actor Riccardo Pizzuti's hulking, lumbering Creature.
There are plenty of kills, some suitably grisly effects and a creature design that viewers will either embrace or absolutely hate.
The pacing can be a little slow getting there, but once Lady Frankenstein finds its rhythm, it pays off. The settings and sets are excellent, too, giving the whole affair that unmistakable Hammer-adjacent atmosphere.
It also shares some DNA with Hammer's The Vampire Lovers and Blood from the Mummy's Tomb; there's something particularly unsettling about placing a female protagonist at the heart of the horror and allowing her to become the real source of danger. Neri embraces that darker side beautifully.
The score by Alessandro Alessandroni is effective but surprisingly sparse; a few more musical cues might have given some sequences an additional jolt of atmosphere. And despite its reputation as an especially raunchy piece of Euro-horror, the nudity is relatively restrained by the standards of its reputation, and is arguably more tasteful and satisfying than Andy Warhol's Flesh for Frankenstein (1973).
Like many other films of the time, it ends abruptly, even if on a fiery, nudity-driven final moment, but Lady Frankenstein is an underrated little gem... atmospheric, strange, occasionally sleazy and considerably more entertaining once its various pieces finally fall into place.
There's plenty here for the old-school horror fan to enjoy. Recommended.
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